What other harmony concepts and harmonic vocabulary are out there? If you tell me about something related to harmony that I don't know, then I can go search off of Google and look this stuff up. Here is all the concepts and vocabulary related to harmony that I can think of off the top of my head and the stuff that I have "heard of" from books and pianists on piano forums from the past:

secondary dominants
modulation
chord tones
tonicization
melodic counterpoint
diatonic changes
ornaments
extensions
circle of fifths and circle of fourths
passing tones and leading tones
tritone substitution
paning
contrary motion
"tonal" music and "tonal center"
scales and arpeggios
extended dominants
learning chord qualities and their symbols
diminished chords
suspended chords
chromatic mediant
tonic, subtonic, mediant, suptertonic, submediant, subdominant, leading tone, and dominant
predominant
harmony term abbreviations
perfect authentic cadence
closed cadence
plagal cadence
deceptive cadence
cadence
cadential 6/4
voice leading
inversions
binary and tertiary form
form
chord progression
polychord

I know, this list might seem a little long, but these are some of the basic harmony concepts that most composers in the piano forums have mentioned and as far as I know, some composers in this forum may know even more. This list hasn't been preserved on paper, so I don't right these terms on paper. These terms I am familiar with and I can think of them on the top of my head.

After all, I am still a beginner in learning these new harmonic concepts. I have a rudimentary understanding of contrary motion, and the only thing I know about it is that its two or more melodic lines that each travel away from each other. I hear musical terms from people in the piano forums every once in a while and try to get a basic understanding of them. I don't want to be like a "musical dictionary" of musical terms, but I still would like to at least understand the musical terms that pianists are using in the composers lounge piano forum.

This word list doesn't help me understand harmony, because I know a lot of musical terms, and I still don't understand the music of the greats. So, we can learn from this that even if you know your basic musical terms, you still won't be able to have a great understanding of harmony. It has to be applied during harmonic analysis for it to happen. Words are never going help you understand music. But it is still in use to become familiar with all the basic music concepts and the rudimentary musical harmonic education.

That's a fantastic list! The only things I can think of to add are some ideas from Schenker's writings that I often use - prolongations, step progressions, voice exchange, and the idea of an initial ascent, interruption, and urlinie.

Wow! I have heard of prolongations and step progressions, but I don't know exactly what those words mean. I guess I'll plan to look up the definition of those two words up. The rest of the words I have never heard of in my musical education.

augmented sixth
Neapolitan sixth
neighbor tone
cambiata
sonata form
rondo form

Some that come to mind:

progressive tonality
non-functional tonality
pedal point
enharmonic spelling
non-chord tones
Landini cadence

I have just found this really neat website that talks all about harmony:

http://www.harmony.org.uk/chord_progressions_in_tonal_music.htm

But some of the terms, such as static harmony and dynamic harmony I am not familiar with.

It's his unique terminology...but his writing hit on I'd often observed but with far more structure and analytical completeness.
I love that site.

I can't believe you forgot these:

Parallel fifths
Hidden octaves

and what about echappee and the Tristan chord?

What's are hidden octaves?

Hidden octaves and hidden fifths occur when two voiced move into an octive or fifth by similar motion. If this is done in the outer voices, it sounds like one of the voices dropped out. Parallel octives and fifths sound this way only more so, even between inner voices.

Neither parallel octaves nor fifths have to do with doubling. A doubled voice is still a single voice.

In addition to those two,
borrowed chords
common tone diminished chords
extended chords [9th, 11, 13 etc]
altered dominants
retardations [opposite of sus, sus is prepare suspend release going down, retardation is going up]
And probably others I'll think of later.

Ah yes . . . Music theory raises its Hydra head. The easiest way to learn music theory is to successfully complete a "standard" music theory sequence at your local community college.

If it is not possible to enroll in a music theory sequence, then I would suggest that anyone who wants to learn harmony get either the Kostka and Payne Tonal Harmony or the Benward and Saker Music in Theory and Practice and the accompanying CDs and workbooks and study them.

Although one can learn theory without any assistance, he/she will probably do much better if he/she can also find someone to serve as a mentor. Someone that can both answer questions and "grade" workbook exercises. I might be a good idea to pay your mentor for a weekly lesson in the same fashion that you would pay for a music lesson.

Comments? Agreements? Disagreements?